Wed Apr 24, 8:00 PM - Wed Apr 24, 11:00 PM
310 W Willie Nelson Blvd, Austin, TX 78701

Community: 6th Street

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Robin Trower The Robin Trower story started in the mid Sixties when he began his recording career in the Southend rhythm and blues band The Paramounts.

Event Details

But the first time Trower pinged on rock’n’roll’s radar was in 1967, with Procol Harum – house band of the Summer of Love. Though he did not play on their mega-hit ‘A Whiter Shade Of Pale’, he completed five albums and many tours with them before breaking away for a solo career in 1971.

Robin admits that ‘the big break for me was Gary Brooker getting me to join Procol. That opened up the whole world. Without that I would never been able to go on and do what I’ve done.’ He rates leaving PH ‘the best career decision I ever made’

Trower modelled his own band on the power-trio blueprint of Cream and Taste, and, of course, the Jimi Hendrix Experience. His atmospheric, effects-laden Stratocastering brought inevitable initial comparisons with Hendrix, but he quickly made his own mark. Robin along with the vocal talents of James Dewar, a hard-living Scot, whose voice will always be associated with the Robin Trower Band proved to be a musical powerhouse.

Robin soon found himself outselling Procol by a considerable factor as he tuned in to the heavier zeitgeist of a new decade, his second album, ‘Bridge Of Sighs’ reached the Top 10 in the States. This collection of songs is in every budding guitarslinger’s reference library, and has Influenced a generation of musicians.

The success of Bridge of Sighs gave Robin the freedom to explore his musical limits. “In City Dreams” and “Caravan to Midnight” ( both produced by Don Davis) demonstrated Robin’s maturing song writing abilities and strong connection to the Blues.

As punk and new wave attempted to redefine the musical landscape, Robin’s distinctive style of playing retained a sizeable live following in the United States. Radio, however was listening in another direction. In the late eighties, Trower’s recorded output became more sporadic. And in 1984 he split from long-time label Chrysalis Records.

In the Nineties, a brief reunion with Procol Harum gave Trower breathing space to reassess the direction of his solo career. He was now, he concluded, aiming to fulfil himself musically rather than sell tonnage. ‘For the past ten years I’ve just been making albums for my own heart,’ he recalled to this author in 2001. ‘The great joy of having my own label

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